I try to keep the theatre separate from the journalism. Here’s a link to the Peter Fray Presents site and below is a still from my recent production, Blue Italian and Nil by Sea, two short plays by my wife Katie Pollock that deal with questions about belonging, immigration, refugees and home.
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But the truth is, of course, they are both ways of telling story. Below is an edited extract from the introduction to Peter Fray Presents:

Theatre is a shared experience. In an atomised world, where so much content is on demand, the theatre remains a destination. You can’t sit at home and watch it: it is one of the few places where the herd gathers to experience the same thing, at the same time — and can’t catch up with what happened later. It is a watering hole.
That is the enduring power of theatre.
The primary producer’s concern is how to muster the herd — how to realise and release that power.
The theatre bug hit early: childhood pantomime (the princess, the dame) turned into teenage public speaking, acting and then writing. In 2000, I attended the NIDA playwright’s studio. My short play, Dog, was produced at Belvoir St (Downstairs) in the same year; another, Keeping Mum, was staged at the national playwrights conference a year later. Soon thereafter, I stopped writing, concentrated on journalism. Producing has been a way back into the theatre over the past five years. Done right, you gain a wonderful sense of satisfaction. Done poorly, it’s hell on earth.

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